Don't you hate it when big commerce does something real good

See Sprint's Plug Into Now project (launched about a year ago and created by Goodby, Silverstein & Partners). Get impressed. And then goddamn it, move forward, do things no commerce can think of. Because it does have the feel of some excellent live art that's been around in the recent years. And let's say it feels just a tad late (and shallow, and not moving forward - but it's selling a product, for chrissakes!). Just late enough to feel that artists can still handle the commercial pressure.
Yes, they've been counting on viral marketing.
Yes, they think they might tap into a blog like this one.
Yes, they just did.
Because they're good. Is it a sin for a commercial enterprize to be good?
Well, they have the means. Get it while it's now. They play around with this idea, and they do it well.
I'm glad they do - it's an inspiring project. It makes me want to move beyond this. Now.

Moebius Bach

Cheerup

Bibi Tanga.

Far Away So Close

The San Francisco LAB just closed their 25th-year-anniversary exhibition called PastForward, where they made an open call to young artists to respond to works of the established ones who came out of The LAB. The result seems to have been quite exciting - you can take a look at some pictures at this site (with some great jazz playing on the site - which unfortunately can't be turned off...).
My favorite work, especially given the distant perspective (I'm in Warsaw now) is the Viewing Platform by Ellen Babcock:

Perfect for any vernissage! (And after all, what would contemporary art be without the vernissages!) It plays with an essential trait of contemporary art: centrality. You are taller, you see further, and as if by chance you are hence appreciated. You become the spectacle. Very tiring indeed. And fun, if you forget the impossibility of an intimate contact with the remaining works. I know, the people become the work, and still...
I would love to create a portable version of this. Like a small podium with railings that you could carry around the opening (wheels?), or rent, or receive if you are a VIP guest. Or just have one of my own, though the most enjoyable part might be having several people on this higher level, among the crowds. And believe you me, at the exhibition openings of the main Warsaw art centers, it would come in handy.


--
Here is what the curatorial note says:

Ellen Babcock responds to Lauren Davies with a sculptural installation
that addresses Davies’ engagement with representations of the natural world. Based upon Babcock’s visit to a tiny museum in Twillingate, Newfoundland – a visit Davies herself had made prior to Babcock – the sculpture teases out the differences between the two artists’ approaches to the tropes of natural history display. Encountering a stuffed polar bear in the museum, Davies responded with a gently mocking mixture of humor and pathos meant to remind us of the absurdity of the way taxonomies simplify and freeze the fluid mysteries of life. Babcock, on the other hand, found the quasi-encounter visceral and beautiful. While she sees Davies as opening up a space for the Real in an iconoclastic rejection of the traditions of natural display, Babcock looks for vestiges of the Real in the moment of encounter when disbelief is suspended.

Quote of the day

To me it seems as though a lot of this... this work is people who are scared to live a life in the first place. Incredibly unradical people who play a game of a radical life within very safe confines of some Kunsthalle or other museum in Germany or France.

- Gavin Brown, gallerist, The Gavin Brown enterprise, about artists related to "relational aesthetics".

The quote comes from a film by Ben Lewis called "Relational Art: Is It an Ism?" (2004).
What I like about the film is that it's (sometimes) funny and doesn't fuss around.
What irritated me though was that beyond the humor I kept feeling a bitterness I despise. So when we discover in the film that Ben Lewis used to make art (with vegetables) and then decided he wasn't good at it and stopped, Lewis' slightly too aggressive attempts to ridicule the artists he talks about become, well, put into context. I would love to see the rest of the Art Safari series to see if it's juat the case of this episode, or is this the "intelligent irony" we should expect in every episode. (correction: I just realized I had seen an episode with Sophie Calle. And it's pretty much the same thing).
But then... I found this famous article of his about the art world - "Who Put the Con in Contemporary Art?" which basically claims it's all an evil world, a clique that only wants profits. And although I agree with some of the statements he is making, it's the tone that really discredits him. (The joker became the prophet!) Especially given he is publishing on the site of... the Saatchi Gallery!


The paintings, (which in my humble opinion are rather unrelated to the topic of relational aesthetics), are by Peter Doig, at the Gavin Brown enterprise. (They are here because of solitude, reflection, one's place in the world as an artist and a person. And skiing.)
The photo is by Ryan McGinley.

Looking at Opałka. Can one focus on the focus?

I'm sure you know the work of Roman Opałka: he has been painting the same continuous picture since 1965, consisting only of numbers, from 1 to infinity. The work has had some changes over the years, among them, in 1968, the introduction of self-portraits.
At the very enriching exhibition of a part of the permanent collection of the Center for Contemporary Arts in Warsaw, there is a room with some six of his portraits, from various periods of his life.
Today I discovered a curious detail: in this particular collection of photos, the early ones are slightly out of focus. Or rather, the focus is on the hair in the back of the head. The later we get, the better the focus. The last two pictures, of Opałka past 70, have his eyes perfectly in focus. As if the disappearing of the numbers was accompanied by the appearing of the person. As if he was more himself.
I'm sure this is a coincidence. But why should I care? What's wrong with a little hermeneutics? Can't we accept conceptual art to have a life of its own, one that eludes its original readings? Isn't the fact that Duchamp's Fountain has long disappeared, and was recreated by the artist many decades later (in several copies) because of interest in the work, isn't this a wonderful enrichment of the original work?
It might be considered a useless stretch of the pure concept. Like overdoing something that was meant to be simple. Possibly. I'll have it my way.

Feeling of Landscape

This is what would be nice: for all this splatter, all this hazy spirit pollution, to suddenly (or progressively) make sense, and turn into a landscape.
Okay, I admit it, there is a world which I am pretending to ignore. There are those one loves and others which are close enough to be deeply missed, at times.
I admit, there is a light which remains and manages to outshine any particular chaos, any specific too-lateness. For a while, it remains with the body, or the view of the body, or the afterview, and then it moves away, into the back of the mind's eye, and turns into an excuse to remain hesitating, instead of letting it all go.

But no. All this is happy-tuning oneself, it does not sustain. That is precisely why I miss the feeling of landscape: it sustains. While this? It feels more like posing steps on stones in a stream, where no single stone is certain, yet together they make an unexpectedly serious path. (Maybe not "serious". Maybe "defined". Or "path-like". Or is it that looking for adjectives misses the point: that it's the path that's unexpected, not any quality it might have).



And at the bottom, in the water, remains all this, all that stuff that somehow never unbecame me. And lingers on as if too hazy to be rejected, too ridiculously gone. So if it's gone, what is it, I ask.The first three paintings are by Andrew Hollis, and the last two - by Gemma Gallagher.